TWIN PEAKS: The Return - Part XVI overview

I once previously said that I cannot wait for Audrey Horne (Sherilyn Fenn) to show up simply to backhand Richard Horne (Eamon Farren) into the ether for being such an ass to his family, his peers, random kids on the street he decides to kill, etc.

I didn’t get that wish, but Mr. C (Kyle MacLachlan) did make Richard follow coordinates that eventually evaporated his son (confirming that Mr. C raped Audrey at some point after Season 2 ended) into thin air.

So… I guess I’ll take that instead.

Part XVI of Twin Peaks: The Return felt like the first well-rounded episode of the new season with much needed and deserving fan service.

Him being electrified back into Special Agent mode seemed like an easy way to bring him back, but hey, I’ll take it. He left through an electrical outlet and it’s only right that it’s electricity that brings him back.

His sendoff from Janey-E (Naomi Watts) and Sonny Jim (Pierce Gagnon) was completely wholesome and lovely. Cooper wakes up completely “one-hundred percent” and his first thought is to have MIKE (Al Strobel) create a doppelgänger of himself to send out to the Jones’ family. Too precious.

This episode was just an abundance of everything I’ve wanted for the past few months with an endless succession of scenes that had me glued to my screen for the first time this season.

Diane’s (Laura Dern) monologue. My goodness. An incredible sendoff for her character we were finally introduced to this season. She became the foul-mouthed thorn in the side of the FBI that actually turned out to be an evil doppelgänger, naturally. Who knows where the real Diane is trapped. Another mystery for another day.

Maybe one that can be solved by our fresh-faced Cooper. Or Mr. C killed Diane and made a replicate afterwards, whichever you want to believe.

There were theories with how weird (weird even for Lynch’s standards) the interactions with Audrey and her “husband” were; claiming that we were somehow inside her visualization of her coma post-bank explosion from Season 2 finale back in 1991.

The biggest moment of fan service actually ends up be the manifestation of a moment of desired past from Audrey. The Roadhouse announcer calls her to the spotlight floor to do her signature sway to “Audrey’s Dance.” It never comes across as anything other than natural and Sherilyn Fenn hasn’t lost her ability to immediately tap into that character’s stance and attitude.

But my goodness, that ending. Someone breaks from the scene and attacks a man for being with his wife, this causes Audrey to run to her husband, alerting him to “give her out of here.” We get a few seconds cut of Audrey in an all-white room, in an all-white gown starring into a mirror saying, “what?”

I had to run outside so that I could freak out after watching this episode. That’s a cliffhanger that could rival the Season 2 finale. I was screaming.

Diving into every scene from this episode would just me repeating myself of how great it was and how long I’ve waited to see it. Part XVI was infinitely entertaining and absorbing. “I am the FBI,” forget it. I was a giddy screeching boy by that point. Can Tim Roth not get murdered in the most audacious ways in every role he is in? Is it in his clause or something? I was hoping him and Jennifer Jason Leigh would stay alive for Cooper to go “full Coop” and catch them.

Deputy Director Gordon Cole (David Lynch) not even flinching or reacting to Diane attempting to kill him, Tammy and Albert. He knew. He definitely knew.

They finally did it. Lynch and Frost did the damn thing and dropped the best episode of the Twin Peaks: The Return so far. I’d put it over Part VIII for the sheer level of satisfaction of fulfillment as well as leaving us to ponder more.

I’ve not been the biggest fan of this season at all. It’s been a chore to finish it, but I literally cannot wait for the season (series?) finale next week. If we are lucky, it will surpass this episode immensely and leave hardened cynics (i.e. me) wishing for more. Both Coopers are en route to Twin Peaks now for what I expect to be a showdown, and I’m expecting two hours of fantastic television next Sunday night.

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